PaavolaPyry

Hi @PeterthePapercomPoser, I forgot to answer to you! I've done a couple guitar impro sessions or compositions where while playing I have intentionally detuned - by ear - to a result that made me feel right. Then afterwards I've finetuned it. It is more about a general colour (and the way guitar reacts to small, constant microtones like these) than anything else. It's completely based on ear :).

I don't know if this is proper but more of my poetry can be found on Poetrycircle.com under the name Pyrde

Poem: w- wheigh- waken oh wheigh- oh waken glare... ...dithers ...flares ...n'fathom ...oblivio- Explanation in score :). Musescore.com Link I have a love for minimalist, kinda hard to understand poetry like this. I have been in a composer's block for a bit and decided that wth, I'll make a score in the same way I've taken to poetry: With limitations and a time restraint. You may disagree with my interpration of the scale, that is OK with me. It is more of a label than anything else, at least I struggle to find a clear tonic in pieces like these. Really the decision of the scale and therefore my naming of the piece in B-flat is just based on my initial limitation. Microtonal fingerings have been tested (and measured) by me on the clarinet. For a player more clarity would obviously be involved (charts). Explanation (5th page, not sent here because it includes personal information): Poem explained: w- wheigh- waken oh wheigh- oh awaken glare [at the sun] [the sun] dithers [the sun] flares [the sun does] n'fathom (=doesn't fathom) [to your existence the sun is completely and utterly] oblivio-[us] Liner note to composition: I was experimenting with some notes on the clarinet and ended in a fun pentatonic scale. In a throwback to an interest, or perhaps an obsession, in obscure scales I had back around the time of Covid, I decided to try to limit myself into an odd scale. In B flat the scale is basically a Lydian with a minor seventh and an augmented third. The intro and outro (solo parts) experiment with some very small microtones I found on the clarinet. For any additional information or questions, feel free to contact me Written on the night between jan 4th and 5th 2026 while watching the WJC ice hockey match between Finland and Sweden.

After coming home I took my guitar and wanted to experiment. There is a bit of microtonal stuff in there based on tuning. I have written a piece for orchestra and guitar before, but for some reason I feel like I am overwhelmed with possibilities at the moment. My plan is to expand this idea for orchestra. This is basically a transcript of my improvisation. It will be orchestra with a guitarist. I want to brainstorm this stuff. Form will not be identical. Feedback on notation technique is appreciated as well. I actually thought about removing all the time signatures (since the caesura signifying a 1/16th note break is a compromise in itself), but it's there for now. Audio file isn't perfect, please check the score simultaneously (had problems with the arpeggios where there is a simultaneous E and E-10c). (Oh yeah, this is on solo guitar, it doesn't say it on the score apparently) For some of my own immediate thoughts: I am in-between starting the orchestral version with the guitar on its own or starting with an intro of some kind. I like the abruptness of the start of the guitar theme. It's like stubbing your toe and being angry at the table corner for bestowing such pain upon you. The guitar impro version is also quite dense, so maybe there's space between the ideas. Additionally there is a lot of fragmentation, which can work well in a Rite of Spring style, where everyone sort of does their own fragment. Maybe this could grow over time (I also like the returning to theme). In the C part the recording does not convey what it sounds like on the guitar (issues with my own technical limitations aka lack of will to fight with musescore) and there is something I want to do there. One of the larger problems will be the microtonality. Of course guitar is quite a different instrument to many others and the microtonality here is relatively tame (except for the bends) and some instruments can certainly be prepared to match the vibe of the guitar (microtonally tuned harp?), but I feel like it will still pose many issues. Although I must admit, sometimes older string quartets etc. are not perfectly in tune - and I love that vibe. And if you find the piece humorous or straight up dislike it, don't be afraid to say it! I don't want to be stuck in an echo chamber and I have thick skin. Honest feedback is my favourite. Keep in mind still that this is the start of an idea. Apologies if there are some etiquette mistakes, new here. Love from Finland -Pyry 30 degrees.pdf